The Light Between The Mountain and The Sea Date｜DEC 10 – Jan 14, 2017 Venue｜Tamsui Customs Wharf, No.259, Tamsui Dist., New Taipei City 251, Taiwan Work on display｜Crystal City – Project at Tamsui Customs Wharf 「拾光」新北市公共藝術展 展期｜12/16 – 1/14, 2017 地點｜淡水海關碼頭，新北市淡水區中正路259號 展出作品｜水晶城市－淡水海關碼頭計劃 駐足於淡水海關碼頭前遙想那段淡水的金色時光，過往歷史與當代發展不斷層疊上去的人文厚度，宛如觀音山與淡水河間的吉光片羽。106年12月16日至107年1月14日於淡水海關碼頭園區舉辦的「拾光-2017新北市公共藝術展」，邀請國內外展歷豐富的藝術家吳季璁與莊志維，以淡水在地的自然特色與城市意象創現地製作藝術裝置，透過「光」的藝術創作，讓新北市北端的冬夜很藝術。 藝術家吳季璁現地製作的《水晶城市—淡水海關碼頭計劃》，表現淡水城鎮從古至今的發展。在海關碼頭洋樓2樓的木地板上，堆疊出一個個宛如晶體成長的透明盒，軌道上的燈光就像時間靜默地流動於空間中，無限蔓延擴張著透明城市，閃著虹光的天空，隨著四季變化的自然風景，在藝術家的巧手下，投影出另一個無比真實的世界。 如果說洋樓是淡水歷史的時光膠囊，中正路側的野趣草坪則是海關碼頭的畫布。435駐村藝術家莊志維近年以戶外雷射裝置點亮不同場域的夜間神祕氛圍，特別為海關碼頭所量身定做的《裝置微光計劃—海關碼頭》，翠綠的雷射光束從海關碼頭倉庫建築上漫溢而過野趣草坪至中正路，隨著風動雨落而律動雷射光海，呼應著倉庫另一側緩悠起伏的淡水河面。另一件《森林裡的洋流》則是帶領觀眾想像這個喧鬧的都市是一片海洋，泛著光環的圓圈像是人與人之間流動的關係，也是人與空間互動的關係，在月夜下化做海流，歡迎大家到海關碼頭來欣賞三組拾光藝術創作，體驗與日間不同的一場藝術之旅。

《水晶城市008》，2017，軌道、馬達、HID、塑膠，尺寸可變 Crystal City008, 2017, Track, motor, HID, plastic, Dimensions variable   Far from East－Wu Chi-Tsung Solo Exhibition Venue｜Künstlerhaus Bethanien, Berlin (Kottbusser Straße 10. 10999 Berlin) Date｜Nov. 16 – Dec. 10, 2017 Reception｜Nov. 16, 2017. 7pm   Wu Chi-Tsung has participated in the artist-in-residency program co-organized by Taiwan’s Ministry of Culture and the Künstlerhaus Bethanien in Berlin, Germany. From November 16th to December 10th, 2017, the program will present his solo exhibition “Far From East” at Berlin, showcasing his recent works, including installations, photography, and videos. In Wu Chi-Tsung’s early works, he utilized media art to discuss the fundamentals of images and seeing. In recent years, he expanded his research field, traversing through the field of culture and art from East to West, as well as integrating traditional aesthetics and contemporary artistic concepts. In his dialectics and diverse way of practices, his artworks nonetheless preserved the sensibility and romance of an oriental literatus. The exhibition begins with “Crystal City,” giving the audiences a glimpse of the artist’s point of view. Under the radiating light, the sharp and clear shadows of the ordinary plastic boxes became distinct, projecting a view resembling a concrete jungle of skyscrapers. In this artwork, Wu Chi-Tsung observes the ambiguous boundary between reality and fantasy, questioning as the cyber space took a major part in our daily lives, then what is real, and what is illusory? “Wrinkled-Texture” and “Cyano-Collage” redefine the junction of photography and painting. The photography series “Wrinkled-Texture” is inspired by the “texturing method”, which is the core technique of Chinese literati painting. Cultivating the technique and the spirit of calligraphy, artists draw down a representational depiction of mountains and stones, which serve as the projection of his inner-thoughts. In “Wrinkled Texture”, Wu utilized cyanotype techniques to apply a photosensitive emulsion on Chinese rice papers, and then exposed the hand-wrinkled papers under the sunlight. After washing off extra emulsion, the shades and the patterns of the wrinkled papers were documented. The complete imagery resembles Chinese landscape – Shan Shui, which Wu substitutes ink and brush with photogram. “Cyano-Collage” inherits the cyanotype photography “Wrinkled-Texture.” The exposed rice…

  Work on display｜Cyano-Collage 012 Year｜2017 Medium｜Cyanotype, paper, acrylic gel Size｜75 cm x 175 cm Donated by the artist    ‘WISDOM and NATURE‘, a traveling exhibition which is in honor and celebration of nature and ancestral wisdom and held by Le Ciel Foundation and Phillips, culminates in a Fundraising auction on 29 November in New York including Wu Chi-Tsung’s latest Cyano-Collage piece. Inspired by the beauty of our planet and the wisdom of its people, The show captures the natural splendor of both humanity and the Earth through 40 contemporary artworks. All of the participating artists’ pieces vibrate with this theme and connect to nature in different mediums.   The artists participating in the exhibition include: Claudia Andujar, Gilles Bensimon, Hugo Burnand, Freddie Child-Villiers, Wu Chi-Tsung, Tinko Czetwertynski, Odyssée Dao, Pierre de Vallombreuse, Anne de Vandière, Alinka Echeverría, Alain Ernoult, Eliane Fattal, Esther Giles, Murray Fredericks, Michael Flomen, Adam Fuss, Justin Brice Guariglia, Caroline Halley des Fontaines, Béatrice Helg, Aranka Israni, Alexander Khimushin, Daniel Kukla, Timo Lieber, Charles March, Denise Milan, Karma Milopp, Cristina Mittermeier, Beth Moon, Ernesto Neto, Sidney Regis, Tamsin Relly, Stuart Rome, Rolf Sachs, Priscilla Telmon, Janaina Tschape,  David Yarrow, and Zuiryu.   Fundraising Auction 29 November 7:30pm EDT Phillips Auction House｜450 Park Avenue, New York (map) Viewing Dates London Exhibition 4 – 8 September 30 Berkeley Square, London (map) Paris Exhibition 18 – 22 September 46 Rue Du Bac, Paris (map) New York Exhibition 27 – 29 November Phillips Auction House｜450 Park Avenue, New York (map)     吳季璁作品將於 WISDOM and NATURE 義賣會 展出作品｜氰山集之十二 年份｜2017 媒材｜氰版, 宣紙, 壓克力膠 尺寸｜75 cm x 175 cm 藝術家捐贈   「Wisdom and Nature」巡展由Le Cie Foundation和Phillips聯合舉辦，旨在向大自然和祖傳智慧致敬，展示40件不同媒材的當代藝術作品。並於11月29日在紐約舉行義賣會，其中包含吳季璁最新的氰山集系列作品。 參展藝術家｜Claudia Andujar, Gilles Bensimon, Hugo Burnand, Freddie Child-Villiers, Wu Chi-Tsung, Tinko Czetwertynski, Odyssée Dao, Pierre de Vallombreuse, Anne de Vandière, Alinka Echeverría, Alain Ernoult, Eliane Fattal, Esther Giles, Murray Fredericks, Michael Flomen, Adam Fuss, Justin Brice Guariglia, Caroline Halley des Fontaines, Béatrice Helg, Aranka Israni, Alexander Khimushin, Daniel Kukla, Timo Lieber, Charles March, Denise Milan, Karma Milopp, Cristina Mittermeier, Beth Moon, Ernesto Neto, Sidney Regis, Tamsin Relly, Stuart Rome, Rolf Sachs, Priscilla Telmon, Janaina Tschape,  David Yarrow, and Zuiryu.   義賣會 29 November 7:30pm EDT Phillips Auction House｜450 Park Avenue,…

Passing 2017 Motor, found objects, HID Dimensions variable Wu Chi-Tsung and artist Chen Shu-Chiang will participate in Suzu 2017: Oku-Noto Triennale, Japan, presenting an on-site installation work.    OKU-NOTO TRIENNALESUZU 2017 Date: 2017 Sep 3 – Oct 22 Venue: Suzu City, Ishikawa, Japan   We are pleased to announce that “SUZU 2017: Oku-Noto Triennale” will be held for 50 days from 3 September to 22 October 2017 in Suzu City, Ishikawa Prefecture. The city of Suzu is located at the unique juncture where the warm current (kuroshio) and cold current (oyashio) in the Sea of Japan meet and seasonal winds from the continent laden with moisture. Suzu flourished as an important port when maritime trade across the Sea of Japan was active, including kitamae-bune, the freight ships of the Edo-period. It is also a place where different cultures across Japan have been accumulated as represented by local festival and remains as a source of Japanese culture as still seen in Kiriko and Yobare. “SUZU 2017: Oku-Noto Triennale” aims to be an unprecedented festival in which participating artists can rediscover the charm of the place, its patterns of life and its people, while engaging locals and supporters from elsewhere. Let us jointly create an art festival where traditional culture resonates with contemporary art.   吳季璁將與藝術家陳淑強合作，參與日本奧能登國際藝術祭，展出大型現地製作裝置作品。   奧能登國際藝術祭 時間：2017年9月3日 – 10月22日 地點：日本奥能登珠洲市 展出作品 汲往 2017 馬達、現成物、HID 尺寸可變   2017年9月3日起至10月22日，奧能登珠洲市將舉行為期50天的“奧能登國際藝術節”。珠洲和日本列島不同，黑潮（暖流）與親潮（寒流）在此碰撞，由大陸吹來的季風導致了海水降雨。以日本海為舞台，從海上交通昌盛期起，作為北前船暫靠的中繼基地，珠洲因此興盛一時，匯集了來自日本各地的生活文化，在祭奠上使用的Kiriko（巨型燈籠，又名Hikiyama）和Yobare（在自家用高級料理款待近鄰）等風俗流傳至今。 奧能登國際藝術節旨在發掘出珠洲當地·生活·居民的潛在魅力。藝術家們將和珠洲市民一起，共同打造迄今為止從未有過的，傳統文化與最先端的美術完美融合的新型藝術節。

    “TAIWAN VIDEA” 2017 Selection in Europe will display Wu Chi-Tsung’s Landscape In The Mist 001.   “TAIWAN VIDEA” 2017 Selection The Taiwanese Avant-garde Video Screening Project Curated by Yunnia Yang   Touring Schedule: 1. July 19 (Wed.), 2017 8:00pm Republic of Macedonia: Museum of Contemporary Art, Skopje 2. July 28 (Fri.), 2017 8:00pm Croatia: Galerija AŽ Atelieri Žitnjak, Zagreb, GalleryAŽ 3. August 1(Tue.), 2017 8:00pm Slovenia: SCCA-Ljubliana Center for Contemporary Arts 4. August 16, 19-20, 2017 Germany: art space “Rosalux” , Berlin Opening and Curator’s talk: August 16 (Wed.) 7:00pm Exhibition time: August 16 (Wed.): 7 pm – open end August 19 (Sat.) : 2 pm – 6 pm August 20(Wed.): 2 pm – 6 pm   Film art is an important artistic expression in the contemporary visual culture. The charms of images dominate the lifestyle and way of thinking of our new generation. Among the Taiwanese contemporary arts, video art and experimental films enrich the visual aesthetics and symbolic meanings with their own critical character, originality and diversity. The internationally-awarded creative videos from Taiwan might become a fleeting glimpse of beauty. The curatorial project 《TAIWAN VIDEA》 is to converge the creative energies and aesthetic features of film art, including video art, performance art, experimental films and animations, digital animations, etc. The depth of these videos refers to many facets of human beings’ living conditions: the alert about the consequence of human desire challenging God with technology and civilization (Lin Peychwen’s “Making of Eve Clone I”), criticizing the desire law of chasing after the ‘Progress’ deteriorating humanity (Huang Zan-Lun’s “Double”); revealing the beautiful lies constructed by the authorities (Chen I-Chun’s “ The Piggy Song”), the seriousness of the collective consciousness manipulated by the contemporary media (Zhang Xu-Zhan’s “Ritual of Cathode Ray Tube”); a nutrition taken as a metonymy to criticize politicians devouring people’s future dreams with empty promises (Wang Ding-Yeh’s “Beef-Wonderful Promises”), analogizing the images of the New Year’s Eve fireworks and a candle as a metaphor of the contradiction between the celebration of a country’s future and the sacrifice of martyrs (Ho Wei-Ming’s “Over My Dead Country”); the danger and…

  Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan at National Taiwan Museum of Fine Arts will display Wu Chi-Tsung’s WireIV, Still Life 05 – Cherry and Cyano-Collage 008. Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan Date: 2017 Jul 8 – Oct 8 Venue: Taiwan Museum of Fine Arts, Taichung, Taiwan Curator: Wu Chao-Jen   Ink painting is an important form of painting that represents the Oriental traditions. Originated in China, ink painting was later introduced to Japan, Korea, and Chinese-speaking regions in southeast Asia. Ink painting uses paintbrush, ink, paper, and silk as media, and has formed a system of its own in the domain of art. After the Tang dynasty, Chinese ink painting was divided into the”Northern School” and “Southern School.”  The “Southern School” emphasizes intriguing brushstrokes and rhythmic use of ink; it focuses on bone method or the way of using the brush to create vitality and spirit, fusing poetry, calligraphy, and painting together. It is closely related to traditional Chinese literati philosophy. However, “literati painting” overemphasizes refined literati tastes, which has also affected the development of ink painting. After the 18th century, ink painting was introduced to Taiwan by government officials stationing in Taiwan, scholars and tutors, and traditional painters; famous artists from the period included LIN Chao-Ying, LIN Chueh, and HSIEH Kuan-Chiao. Although these artists were commonly referred to as the “Min-practice” because they inherited the wild and leisurely ink painting style of the southern Zhe school of painting, they nonetheless gave rise to the beginning of the heritage, transformation, and development of ink painting in Taiwan. In late 19th century, “Western painting” and “Toyoga ( Eastern painting or gouache painting),” which originated from the meticulous heavy color techniques of the Chinese “Northern School,” were introduced to Taiwan during Japanese colonization. With the aid of “Taiten ( Taiwan Fine Arts Exhibition)” and “Futen (Taiwan Governor-General Art Exhibition),” many Taiwanese traditional ink artists switched path to creating “Gouache painting,” becoming the unique “local color” of the new southern territories propagated by the Japanese colonial government. Japanese colonial system fell as WWII…

  Mandala of Ink Art at Kaohsiung Fine Arts Museum will display Wu Chi-Tsung’s Landscape In The Mist 001 and Still Life 02 – Orchid.   Mandala of Ink Art Date: 2017 Jun 24 – Oct 29 Venue: Kaohsiung Fine Arts Museum, Kaoshiung, Taiwan   What is contemporary? How to define ink art? Each person has different answers to these questions. This exhibition is an attempt to present the cotemporary facets of ink art through the most inclusive and open-minded observation as possible, transcending all literal definitions of contemporariness or ink art. Drawing references from the concept of “mandala”, this exhibition is composed of four themes: “Form” (material), “Meaning” (spirituality), “Void” (contrast between void and solid) and “Space” (spatial structure). They are the four quadrants in the mandala of this exhibition to have a systematic review of the development of contemporary ink art in this new century. The theme at the center of the mandala is Chi, which means “energy of the universe”. In the exhibition, it provides an experimental territory representing the subjective spirit of new-generation artists and the perspectives of ink art in southern Taiwan. By asking questions not asked before and serving as an interdisciplinary and multimedia platform, this exhibition aspires to discover another round of paradigm-shifting possibilities for the future of ink art.       高雄市立美術館水墨曼陀羅群展，將展出吳季璁錄像作品《煙林圖之一》以及《小品之二 蘭》。   水墨曼陀羅 時間：2017.06.24 – 10.29 地點：高雄市立美術館 201-203展覽室 藝術家：王天德、石忘塵、江盈臻、吳季璁、李明啟、李品墨、林俊廷、林壽宇、林銓居、柯偉國、柯懷晴、洪上翔、洪根深、胡軍軍、孫浩、徐冰、徐累、袁旃、許雨仁、陳劭彥、陳幸婉、陳松志、陳浚豪、陳穎蓁、曾偉豪、曾霆羽、華建強、黃千倫、黃法誠、黃柏皓、楊景堯、廖敏君、劉丹、留白、劉國松、蔡文汀、蔡旻芸、蔡國強   何為當代？又該如何定義水墨？言人人殊，本展覽捨棄作字面的定義，試圖用最大化的包容與開放去觀察、去呈現，具現水墨藝術的當下現象。展覽藉曼陀羅的概念，由 ｢形‧意‧空‧間｣四個主題形成四個方位，亦即透過｢材質｣、｢精神性｣、｢虛／實｣、｢空間｣等四個面向梳理當代水墨藝術在新世紀發展的脈絡；曼陀羅的軸心區—｢輪圓｣，主題為｢炁｣，是｢宇宙能量｣之意，它是新生代的實驗場域，表現新生代及南方水墨觀點的主體性精神。本展覽希冀不僅扮演新的提問者角色，也秉持平台、跨界、多媒的理想信念，為水墨藝術的未來提供另一輪翻轉的可能。   指導單位：文化部、高雄市政府文化局 主辦單位：高雄市立美術館 協辦單位：財團法人原住民族文化事業基金會 統籌：館長李玉玲 策展團隊：洪根深、蔡文汀、吳慧芳

  Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia at MOCA Yinchuan will display Wu Chi-Tsung’s Cyano-Collage Series, Wrinkled Texture Series and Landscape In The Mist 002.   Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia Date: 2017 Jun18- Aug20 Curator: Chia-Chi Jason Wang Venue: MOCA Yinchuan, Yinchuan, China   The exhibition “Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia ” which is curated by Mr. Cha Chi Jason WANG will be put on display at Museum of Contemporary Art Yinchuan during June 18th to August 20th 2017. 27artists which from China and other countries and regions will demonstrate their artistic works by various mediums, including installations, paintings and video works. It is equally crucial how the artists deal with the problematics of ink art. Through the use of heterogeneous materials, concepts, and formal techniques, how the artists achieve conceptual transformation creatively. Besides denoting interchange between Eastern and Western cultures, “Crisscrossing East and West” as the theme of the exhibition also calls for broader visions and insights to widen the realm of ink art. Stones from other hills may serve to polish the jade of this one. From diversity to pluralism, artists who come from different backgrounds and traditions are invited to gather here in Mainland China, specifically at the MOCA Yinchuan to reflect upon the works of one another. It is hoped that through such encounters, intertextuality as well as intertextual relationships can be established to help enhance the aesthetic remaking of contemporary ink culture.     銀川當代美術館聲東擊西－東亞水墨藝術的當代再造聯展，將展出吳季璁《煙林圖之二》、《氰山集》、《皴法習作》等五件錄像與平面作品。 聲東擊西－東亞水墨藝術的當代再造 时间：2017.06.18 – 2017.08.20 地点：银川当代美术馆 策展人：王嘉骥   参展艺术家： 安美子（韩国）、张相宜（韩国）、黄致阳（台湾）、郑光熙（韩国）、江大海（中国大陆）、金浩得（韩国）、上原木吕（日本）、李茂成（台湾）、李义弘（台湾）、梁铨（中国大陆）、林延（中国大陆）、三濑夏之介（日本）、潘信华（台湾）、邱黯雄（中国大陆）、任戬（中国大陆） 、尚扬（中国大陆）、藤原志保（日本）、宋陵（中国大陆）、屠宏涛（中国大陆）、王天德（中国大陆）、王雅慧（台湾）、吴季璁（台湾）、徐冰（中国大陆）、徐累（中国大陆）、严善錞（中国大陆）、杨世芝（台湾）、余友涵（中国大陆）   银川当代美术馆将于2017年6月18日至2017年8月20日呈现“声东击西—东亚水墨艺术的当代再造”展览，由王嘉骥策展，邀约来自中国及东亚其他国家和地区的27位艺术家，通过装置、绘画、视频等形式，将展出总数超过120组件的代表作，呈现不局限以水墨纸绢作为素材的创作。 此次展览所使用的“声东击西”一词，除了是在东、西方文化交会的层面上，反思水墨艺术于当代再造的可能之外，也期待艺术家籍由异质性的物质、观念与形式手段，能够激荡出多重的诠释及创作上的可能。透过“再造”，希望透过东亚几个地区的部分艺术家创作，进行对照式的观察与展览呈现，重视起艺术家创作的问题意识与观念转化，唤醒更多艺术家省视和思考水墨文化在历经西潮强势且持续的侵袭与冲击之后，演变至今的美学面貌及文化意义。 他山之石可以为错，借由多元性的展陈，也许是文化背景上的迥然不同、历史命运上的似曾相识，或是个人创作方法上的刻意立异，来自各地的艺术家在中国大陆齐聚一堂，借由银川当代美术馆独特的空间，可以彼此观照，互为文本，为水墨文化提供具有当代意义的美学再造契机。   主办单位：银川当代美术馆 赞助单位：宁夏民生文化艺术教育基金会    

/ “The urge to create visions…”1929–2017 27th May – 17th September 2017 Museum of Contemporary Sculpture Curator: Grzegorz Musiał Coordinator: Leszek Golec Work on Display: Crystal City 007 Participants: Elias Crespin, Carlos Cruz-Diez, Wojciech Fangor, Paweł Grobelny, Mikołaj Grospierre, Bethan Huws, Kimsooja, Lin Yi, Michał Martychowiec, Laszlo Moholy-Nagy, Jesus Rafael Soto, Franciszka and Stefan Themerson, Ludwig Wilding, Chi Tsung Wu The international exhibition organized in cooperation with the Signum Foundation includes the works of outstanding artists of historical avant-garde and contemporary artists. The exhibition will be the highlight of the summer season 2017. The title of the exhibition refers to Stefan Themerson’s essay from 1936, published in 1937 in the second edition of the avant-garde magazine ‘f.a.’ (artistic film). Themerson mainly discusses in it the problems of artistic film, which is one of the media in this exhibition, however, the visual experiences connected with movement, light, time and space are also interesting for artists working outside the realm of film. The presentation has the form of collage and is happening simultaneously on several levels of experimenting with the widely understood visuality. It is a record of the past and present dreams about this amazing experience. Historical and contemporary artists taking part in the exhibition engage in media dialogue, going beyond  linear narrations. Chronologically, the exhibition opens with László Moholy-Nagy’s film Ein Lichtspiel schwarz weiss grau from 1930, shot with the use of a light modulator, kinetic sculpture on which the artist had been working since 1922. In the context of the film, several installations of contemporary artists will be shown: Bethan Hus will present White, Grey, Black from 2016 and Wu Chi-Tsung will present Crystal City 007 from 2015. Beside a series of Stefan Themerson’s abstract black-and-white  photograms, you will see Yi-Chun Lin’s large format pictures, made with the use of state-of-the-art electronic equipment. Spatial pictures of Jesus Rafael Soto from the first half of the 60s, inspired by Pierre Boulez’ music, lead a dialogue with Michał Martychowiec’s video, which is a visual variation on Soto’s iconic work, Penetrables, created in 2010 at the Palazzo Dona in Venice. The series of photographs titled The Sun Unfolded made in 2008 by Korean…

  空場空場藝術聚落於2014年由一群藝術家號召成立，以創作工作室為主軸，集合一群台灣當代藝術家、藝術策展、文字與戲劇、音樂、舞蹈等工作者，創造一個自然交流、創作、討論、聚會、合作的平台，4/29公眾開放日讓您一舉揭開神秘藝術家工作室面貌。 此外，空場也邀請到〈Artist in the World〉計畫藝術家André Smits駐村，並在Open Studio當天下午兩點與空場的藝術家們進行對談。晚間七點給力電影院 Gelivable Cinema NO.10 “Art in and out of the Studio”將放映「工作室之內與之外的藝術」特別選集，內容有關表演、行為藝術與錄像藝術對藝術從物件製造到更加過程導向的藝術實踐。 開放工作室參觀完後，晚上八點於The LAB Space 實演場將由蝴蝶效應劇團演出洛基恐怖秀 The Rocky Horror Picture Show，歡迎前往欣賞。   日期｜2017 4.29 10:00-24:00 地點｜空場藝術聚落 北投路一段9號 3樓

Limitless Landscapes Curator HU Yung-Fen Artists WU Chi-Tsung, LIN shukai, KAO Yating, CHEN Wan-Jen, LIAO shin-Yu, Ava HSUEH, HSIEH Mu-Chi Exhibition Dates 18 March – 30 April 2017 Venue Art Influence Gallery No. 3, Lane 90, Section 1, Anhe Rd, Da’an District, Taipei City, 106 It was only 500 years ago that landscape paintings became a new form of western artwork. In other words, the landscape painting is the first proof of liberation and progressiveness in human civilization. Nowadays, “landscape paintings” continue to arouse specific stereotypes today. People tend to think of landscape paintings as depictions of mountains and rivers, grass, and trees, or various natural phenomena such as thunders and lightning, tornados, clouds, rain, or fogs, and different traces of human activity, such as paths and architecture. This categorization spread to Taiwan and still used today, proof of landscape painting, which has transformed into a typed form, seeping into the art education in Taiwan and stiffening the concept through systematic art education. The concept behind “Limitless Landscapes” is to present the “landscape painting,” this classic and precious painting category that was originally limitless and filled with charming quality but has gradually become stiff and lacking in imagination. This exhibition is a declaration and attempt of revitalization and extension. The word “limitless” was inspired by extreme sports. As we all know, extreme sports refer to a group of dangerous sports activities that require skills and physical strength. The “extreme” in extreme sports is linked to the concept of limitations. Therefore, my own interpretation of the word “limitless” extends to the borders of possibility: re-extending, re-exploring, repeatedly trying and developing all possibilities. This may not be a logical or trendy title, but it is a theme with rich meaning and forever deserves investigation, classic and contemporary at the same time. This opening exhibition curated for Art Influence and the seven participating artists elaborate the multivariate creative interpretations of “landscape” in contemporary Taiwanese art. 極限風景 策展人 胡永芬 藝術家 吳季璁、林書楷、高雅婷、陳萬仁、廖心瑜、薛保瑕、謝牧岐 展期 2017.03.18－04.30 地點 心動藝術空間 臺北市大安區安和路一段90巷3號 (捷運信義安和站 1 號出口) 座談 3／26（日）15：00 與談人：廖仁義老師 藝術家：高雅婷、謝牧岐、林書楷 4／23（日）15：00 與談人：蕭瓊瑞老師 藝術家：薛保瑕、吳季璁、廖心瑜、陳萬仁 「風景畫」成為一個新的西洋畫種，只不過是近五百年來的事，也就是說，這是人類文明史上一個解放的、進步的產物與證據。不過時至今日，「風景畫」卻形成了某些既定的刻板印象，不外乎各種地貌特徵如山海江河、各種地表生物如草原林樹、各種自然現象如雷電捲雲雨霧，以及各種人類活動的痕跡如路徑建築等等。所謂的「風景畫」作為一種類型化款式，已經完全滲入台灣系統美術教育，異常僵固了。 「極限風景」的思考，就是將原本具有無限可能，卻莫名走上一種僵化且逐漸缺乏想像的「風景畫」這個珍貴的古典繪畫品種，在今日此時重新激活、延展它的一種宣示與嘗試。 「極限」二字挪用了「極限運動」一詞裡的「極限」字義，「極限運動」本泛指各種危險性比較高、技巧性以及體能的需求也特別高的運動項目，兩字在這裡有著近乎於「極端性」的意涵。本展挪借以詮釋的概念，則是將「極限」的語意再延伸到對於一種可能性之邊界盡其所能的再延展、再探索、再嘗試、再開拓……，極盡所能的。 這或許不是一個合乎時潮的、流行的題目，卻是一個豐饒厚重、永遠值得開拓的題目。既古典、也當代。因此，「極限風景」這個展覽邀請了七位藝術家，來勾繪台灣當代創作者在「風景」這個概念下多元多樣的創作。

Wu Chi-Tsung Solo Exhibition: Inwardscape  Press PreviewWednesday 15 February 2017, 4:00-6:00pm Opening ReceptionWednesday 15 February 2017, 6:00-8:30pm Exhibition Dates 16 February – 14 March 2017 VenueGalerie du Monde108 Ruttonjee Center, 11 Duddell Street, Central, Hong Kong Galerie du Monde will be presenting the first solo exhibition of work by Taiwanese artist, Wu Chi-Tsung (b. 1981, Taipei, Taiwan), in Hong Kong. The exhibition will run from 16 February to 14 March, 2017. With a passion for the interpretation and production of images, Wu has been working across the mediums of photography, video, and installation, to create artworks which challenge our perceptions of our physical and natural worlds. The upcoming exhibition will present a diverse range of artworks from various series, representing ten years of development in the artist’s work. Brand new works on display will include Wu’s Drapery Studies series (2014-2017), never seen before by the public, as well as recent video works. Also on display will be the artist’s renowned Cyanotype works and a large scale, site-specific installation Crystal City 007. Crystal City 007 (2015), which is regarded as characteristic of the artist’s Crystal City series and was previously shown at the International Ink Art Biennale of Shenzhen in 2016, is the artist’s term for the virtual world which is made up of electronic equipment, networks, programs, media and information. Wu will project a variable shadow cityscape onto the gallery walls: the projection alters the landscape and results in the constant changing of the shapes and shadows of the work. The new series, Drapery Studies (2014-2017), explores the notions of body, volume and texture, inspired by the drapery of classical Greek and Roman sculpture. In this way, the artist links traditional western art forms to the idealistic and poetic concept of space in oriental culture. Via his work, Wu attempts to study the relationships between materials and techniques. Wu creates the artworks by wrinkling linen, then painting it with multiple layers of rabbit-skin glue and using Gesso to fix the shape, before finally painting it with oil paint or toner. The work is a hybrid of painting, sculpture and installation,…